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Fascination Issue 181
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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 19, NUMBER 2 February 2019 ISSUE #181
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
Although there've been plenty of other announcements since we last
spoke - Messi10 and Cirque's acquisition of "The Works Entertainment"
(both announcements you can read in our news section), there've been
a lot of blurbs about the new Alegría this month. And note it's no
longer "The Return of an Icon" but "In a New Light." First, we begin
with a small "debut" at Gala Célébration 2019. During the broadcast we
got our first glimpse of the White Singer's dress, as well as costumes
for the Nymphs, who also perform a captivating hand-to-hand act in the
show. See those here: http://www.cirquefascination.com/?p=12270.
Next, after presenting during Célébration 2019, Cirque proudly un-
veiled the revisited full version of Vai Vedrai, the first musical
excerpt from the new soundtrack. Jean-Phi Gonclaves, renowned for his
work as Musical Director on the Série Hommage, the Cirque du Soleil
tribute series presented in Trois-Rivières, arranged and produced
Vai Vedrai, composed by René Dupéré. This adaptation of the Alegría
score will immerse audiences in the show's new world. "Vai Vedrai, is
the story of a mother inviting her child to leave the nest and
discover the wonderful folly of the world. There exists a touching
combination between the music and the lyrics which is just as
meaningful today" mentions Jean-Phi Goncalves, the show's musical
director. "The challenge is to update the song's arrangement by taking
it apart and putting it back together differently." It bears mentioning
that the soundtrack of the original Alegría show remains one of Cirque
du Soleil's most popular albums and that its theme song was nominated
for a Grammy Award in 1995. On January 14th, digital download and
streaming providers offered up Vai Vedrai. The complete soundtrack
will be available on April 25th.
o) See more images from the gala here:
http://www.cirquefascination.com/?p=12321
o) Get a behind-the-scenes look at the new recording:
https://cirk.me/VaiVedrai-BTS.
Then, on January 26th, Jean-Guy Legault, director of the new Alegría,
shared his vision for the show and how Alegría's timeless message of
resilience inspired its reinvention in a video that you can see
here: https://www.facebook.com/Alegria/videos/285952828758720/
Within the video the new Fleur is front and center, what could be the
show's new set/stage (in concept artwork), and what appears to be the
show's acrobatic skeleton. Here's what I saw in the video with regards
to the acts and songs...
ACT 1
Opening (Song: "Vazoulé")
Acro Bars (Song: "Kalandero")
Scene "A Fools Court" (Song: "Milonga")
Double Crossed Wheel (Song: "Ibis")
Scene: "Confusion"
Duo Trapeze (Song: "Querer")
Scene: Fool's Party/The Big Feast?
Hula Hoops (Lev) (No Song Listed)
Snowstorm (Song: "Mirko")
INTERMISSION
ACT 2
Scene: Fleur in the Snow
Straps (Song: "Alegria")
Clowns (Mocking the Aristocracy)
Power Track (Songs: "Irna" & "Valsapena")
Scene: Fall of the Fool
Fire Knife: A New Arising (No Song Listed)
Tableau en Blanc (Song: "Vai Vedrai")
Net Setup (No Song Listed)
High Bars (Song: "Valsapena")
Finale (No Song Listed)
If this is indeed what the new Alegría will look like come April,
fans are in for quite a shock. Stay tuned!
Okay, so let's go!
/----------------------------------------------------\
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- Ricky "Richasi" Russo
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CONTENTS
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o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A -- Quick Chats & Press Interviews
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "Big Top Academy Stars Talk Circus"
By: Kim Campbell for Circus Talk News
* "Jamie Sullivan's Journey to JOYÀ"
By: Ashley Sutherland-Winch for TheaterArtLife
* Jean David's Quel Cirque, Part 2 of 12: "The Appointment"
A Special Series Celebrating Cirque's 35th Anniversary
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
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LA PRESSE -- General News & Highlights
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LUZIA Celebrates 1,000th Performance!
{Jan.13.2019}
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On Saturday, January 12th, Cirque du Soleil's Luzia
celebrated it's 1,000th performance. Congratulations!
Check out the cake created to celebrate the milestone:
http://www.cirquefascination.com/?p=12282
And see a video in celebration of the show's 1000th performance
https://www.facebook.com/LUZIAbyCirqueduSoleil/videos/348772912569835/
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X: The Land of Fantasy Launches August 10, 2019!
{Jan.24.2019}
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CIRQUE DU SOLEIL TO OPEN FIRST RESIDENT IN SHOW IN CHINA
IN COLLABORATION WITH HANGZHOU XINTIANDI GROUP
X: THE LAND OF FANTASY WILL OPEN AUGUST 10, 2019
On October 23, 2018, Cirque du Soleil announced its first resident
show in China in partnership with Chinese real estate leader Hangzhou
Xintiandi Group called X: The Land of Fantasy. Set to open AUGUST 10,
2019 in the heart of the Xintiandi CAZ, in Hangzhou, this new resident
show will be presented in an unprecedented state-of-the art theatre
offering an immersive experience that no other audience has ever
experienced elsewhere in the world.
"With todays announcement, we are now solidly and permanently
establishing ourselves in China, with a resident show that was
specially created for Chinese audiences. Our partnership with XTD
enabled us to create a unique-in-the-world entertainment experience
and we want to thank them for their precious collaboration", expressed
Daniel Lamarre, President and CEO of Cirque du Soleil Entertainment
Group.
"XTD is honored to bring this technological adventure to Hangzhou and
host, for the very first time, a Cirque du Soleil resident show in
China. As the developer of Xintiandi Central Activity Zone, where the
theater is located, we are confident this unique entertainment
offering will solidify Hangzhous position as one of the most
important tourist destinations in China. The show reinforces the
citys very rich cultural offering and emphasizes its status as an
international destination for tourism", said Chairman Liu Wendong of
Hangzhou Xintiandi Group.
Built to host nearly 1,500 spectators, the show theatre is divided in
two sets of intimate revolving bleachers, placing the audience at the
very center of the story and allowing two viewing experiences. This
unique 360-degree perspective opens a new world of creative
possibilities to tell the story and provides a truly captivating
experience for the spectators who follow the action from their seats.
The theater also features a massive 100m-wide main stage, divided in
panels individually controlled to create any configuration imaginable,
allowing the setting to shape-shift as the story unfolds. A
combination of 3D props, video mapping, and trap doors from which
acrobats seem to 'disappear' inside landscapes and return when you
least expect it, will allow for artists to perform gravity-defying
acrobatic acts; all of which are designed to disorient the senses.
Tickets for X: The Land of Fantasy)are now on sale here:
https://en.damai.cn/event/tickets_167814/
ABOUT X: THE LAND OF FANTASY
X: The Land of Fantasy is an epic and thrilling quest to reunite two
ancient kingdoms, Petra (an underground world in the west) and Aria
(an aerial palace in the east), torn apart centuries ago. Harmony
disrupted by a broken seal depicting a yin-yang crest of a Dragon
and Phoenix. The captivating legend is guided by The Watcher, a wise
elder whose mechanical box unleashes the story. One that begins with
two innocent infants, each left on the doorstep of the opposing
kingdoms palace. They both grow to emerge as the hero and heroine who
challenge dangers and fight seemingly invincible forces, in the name
of good for all.
Inspired by a rich storyline, multi-dimensional characters, and
surreal universes, X: The Land of Fantasy is an incredible immersive
experience. Driven by high-energy action and acrobatics, rich
symbolism, beautiful poetry and artistry, history is told through two
perspectives: Petra and Aria, through the Hero and Heroine. Two sides
of one story, two cultures discovering each other. No detail is spared
to immerse deeper inside the story and create a surge of adventure for
the whole family, each scene more powerful than the next.
THE CREATIVE TEAM
o) Charles Joron Executive Producer
o) Michel Rioux Project Director
o) Neilson Vignola Director of Creation
o) Hugo Bélanger Writer and Director
o) Du Wei Composer and Musical Director
o) Carl Fillion Set and Props Designer
o) Carlos Navarrete & Fred Caron Video Designers
o) Jérôme Le Baut Acrobatic Performance Designer
o) Ewen Seagel Acrobatic Equipment and Rigging Designer
o) Marie-Chantal Vaillancourt Costume Designer
o) Étienne Boucher Lighting Designer
o) Luc Langevin & Stéphane Bourgoin Magic & illusion Designers
o) Phenix Lin Choreographer
o) Jacques Boucher Sound Designer
o) Karen Yiu Make up Designer
{ SOURCE: Cirque du Soleil }
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Cirque Withdrew From China Show as Tensions Mounted
{Jan.25.2019}
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As diplomatic relations grew tenser between Canada and China last
month, one of Canada's most recognizable entertainment companies
withdrew from a prominent Chinese television program.
Cirque du Soleil on Dec. 10 ended negotiations to feature in CCTV's
Spring Festival Gala, one of the world's most-watched TV shows,
spokeswoman Stephanie Morissette said. The decision was due to a lack
of agreement on contract terms as the February gala grew closer, and
was unrelated to the political situation, she said.
"We were really disappointed to withdraw, because this gala is a great
marketing opportunity," Morissette said. "Unfortunately, in order to
deliver a performance reflecting what Cirque du Soleil is capable of,
it wasn't possible."
The arrest of Huawei Technologies Co. Chief Financial Officer Meng
Wanzhou and China's subsequent detention of two Canadian nationals
has prompted an acute diplomatic feud between Ottawa and Beijing, with
each side accusing the other of arbitrary law enforcement. Meng was
arrested in Vancouver on Dec. 1, while the two Canadians were detained
in China on Dec. 10, the same day as the Cirque's withdrawal.
Cirque du Soleil Entertainment Group has been banking on its China
expansion to boost ticket sales under guidance from Chinese minority
owner Fosun International Ltd. Its first permanent mainland show is
set to start in Hangzhou this year.
The news was first reported by Radio Canada, the French-language
branch of the state broadcaster.
{ SOURCE: Bloomberg }
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#MessiCirque is "Messi10: El Juego Cambió"
{Jan.29.2019}
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FOOTBALL LEGEND LEO MESSI TEAMS UP WITH CIRQUE DU SOLEIL
AND POPART MUSIC FOR MESSI10: EL JUEGO CAMBIÓ
PREMIERE WILL TAKE PLACE IN BARCELONA ON OCTOBER 10, 2019
INTERNATIONAL TOUR WILL LAUNCH IN 2020
On October 10, 2018, Argentinean football player and FC Barcelona star
Leo Messi, Cirque du Soleil Entertainment Group, and PopArt Music
announced a partnership for the creation of a brand-new show to be
launched in 2019. Created by Cirque du Soleil, the show would draw its
inspiration from the incredible talent and accomplishments of the
football legend, who embodies the unique spirit and values of his
sport. After paying homage to some of entertainment's greatest
artists, such as The Beatles, Michael Jackson and Soda Stereo, Cirque
du Soleil would leap into the passionate world of football,
celebrating Messi's legacy in Cirque du Soleil's signature way.
Today, Cirque du Soleil announces #MessiCirque as "Messi10"!
ABOUT THE SHOW
Messi 10, an amazing and inspiring experience for the fans, will use
acrobatics to represent the athletics, devotion and overcoming that
unite football world with cirque's, celebrating the best football of
our time. Messi 10 tells the story of a young man with the tireless
ambition to overcome any obstacle to become the best "number 10" in
the world. The show explores all the elements of its success to create
a universe in which greatness is reached every time one falls and
rises in the path of the impossible. A cast of 46 artists will guide
the audience and fans on a breathtaking 90' minute adrenaline rush
that combines a dazzling physical performance with an unthinkable
poetic surprise, and a vibrant soundtrack as a backdrop.
The show Première will take place at Parc del Fòrum in Barcelona on
October 10th, 2019, being the only city in Spain where it will be
presented. Later a world tour will begin in 2020. "It feels both crazy
and incredible that Cirque du Soleil will create a show based on my
life, my passion, my sport", expressed Leo Messi. "Cirque du Soleil is
a family favorite of ours. I have no doubt this show will amaze people
as their shows always do."
Get tickets here: https://www.messicirque.com/en/tickets.php
INTERACTIVE EXERIENCE: MESSI 10 CHALLENGE
For fans around the world who dream of feeling Messi just for one day,
there will be an additional attraction, the Messi 10 Challenge.
Football is childhood, school, family, friends and passion. Leo is
football synonym, it's the key to the game. He is the player that we
all fans want in our team, whom we want to imitate. Being Messi for
one day is the dream of all who are passionate about football. In
addition to celebrating his talent and legacy, the show will provide
fans with an unforgettable experience. Messi 10 Challenge is an
additional attraction for the whole family to enjoy.
The challenge will be developed in a space beside the arena of the
show, which will open its doors 3 hours before the begging of the
show. Messi's fans will be able to participate in different contests
in order to score as many points as possible. They will be able to
simulate Messi's dribbles, emulate his free kicks, answer questions
about his career, talk live with an interactive Messi, and be part of
the most memorable moments of his career thanks to VR glasses.
Once all the contests finish, the competitor with the highest score
will be prized as the "Messi of the Day" and will be able to
participate during the show in an interactive way.
WHO IS MESSI?
Messi joined Barcelona as a 13-year-old, with the Catalan club luring
him from Argentina with the promise of paying to help treat a growth
hormone disorder. He has since gone on to become the club's most
decorated player, winning over 30 trophies, as well as being named the
World Player of the Year on five occasions. Now 31 and Barca's all-
time top goal scorer with 563 goals, he is closing on his 650th
appearance for the club, with only Xavi Hernandez (767) and Andres
Iniesta (674) having made more. The captain of the Argentina national
team is also putting his name to a theme park in China, which is due
to open in 2020.
"We are thrilled to be working with such a living legend. As a world
leader of live entertainment, Cirque du Soleil Entertainment Group is
becoming the go-to creator of original content and experiences for the
world's top brands," says Jonathan Tétrault, President and Chief
Operating Officer at Cirque du Soleil. "We are convinced that bringing
Messi's legacy to life on stage will touch audiences and speak to all
football fans. Together with PopArt Music and Sony Music, we have the
chance to transcend the sport and present it in a totally new form to
inspire the world."
"It is an honor for PopArt Music to work on a new project with Cirque
du Soleil and Leo Messi. I have no doubt that the creation quality of
Cirque du Soleil will be able to artistically translate the
unparalleled talent that Messi displays in each match, with the
incredible music from the artists of Sony Music, directed by my
talented friend Afo Verde." says Sergio Lavié, co-founder at PopArt
Music. "I am sure that this show will break all records, in the same
way that Messi does in football."
"Leo Messi inspires the world with his outstanding talent not only in
every game he plays but also with his deeply human qualities. It is an
honor for us at Sony Music to team up with the prestigious Cirque du
Soleil and PopArt Music on this fantastic project. We strongly believe
that this show will be enjoyed by sports and art lovers all over the
world." Afo Verde, Chairman & CEO Sony Music Latin Iberia.
{ SOURCE: Cirque du Soleil }
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Leo Messi Joins Residente On Stage at Messi10 Event
{Feb.01.2019}
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Residente beckoned a reluctant Leo Messi to the makeshift stage at a
private party at Barcelona's Camp Nou stadium Thursday night (Jan.
31), held to celebrate the upcoming Cirque du Soleil show based on the
story of the superstar football player's spectacular life on the
pitch. Messi didn't dance, though, urged on by teammate Luis Suarez,
he did jump up and down. Whispering to an amused Residente (a.k.a.
René Perez), he made a request: Calle 13's song "Por Ti." Flanked by
his wife, Antonella Roccuzzo, and a discreet bodyguard, Messi tapped
on a Puerto Rican pandereta drum painted with his own image that was
presented to him by members of the band.
Residente was the only musical performer at the unveiling event for
Cirque du Soleil's "Messi10," where a promotional video was shown in
which Messi was compared to a rock star. Before conscious rapper and
singer Residente opened his short set with Calle 13's "Atrévate-Te-
Te," a Cirque contortionist did her routine to a song by Rosalía, who,
like Residente, is a Sony Music artist.
Sony is the label partner for Messi10 by Cirque du Soleil. José Manuel
Pinto, a former Barça player who has been described as Messi's "best
mate," has signed on as a musical producer for the show, which will be
directed by Cirque veteran Mukhtar Omar Sharif Mukhtar. Pinto, who
makes music under the name Pinto Wahín, scored a Billboard chart hit
with "La Habana" a collaboration with Cuban reggaeton artist El Taiger
that was featured on the Fate and The Furious soundtrack. He said on
Thursday night that he is about to release a solo album on Sony Music
Latin.
Wahín told Billboard that he is writing music for the Cirque show, and
that audiences could expect to hear a "combination of classic songs
and new compositions."
Sony Music Latin/Iberia Chairman Afo Verde, who was also at the party,
said at a press conference earlier this week that the show's recorded
soundtrack (there will be no live musicians) will include "songs that
have been special in Leo's life and things that are heard in the
stadiums, whose atmosphere we want to reproduce." Verde also promised
"great historical songs that are being adapted for the show by their
creators."
While Wahín said it is premature to talk about artists who may
collaborate on the Messi10 soundtrack, the show could logically
present opportunities for other Sony Latin artists, and a contingent
of artists signed to Sony Spain and Sony Music Latin were in Barcelona
for the party. They included Puerto Rican singer Pedro Capó, hip hop
artist C. Tangana, members of the Spanish pop-rock group Estopa, Goya
winning singer-songwriter Leiva and Argentine artist Axel. The crowd
of about 200 people also included representatives from PopArt Music,
the Argentine concert promoter behind Cirque's "Se7ptimo Día," the
recently staged show that was based on the story of the band Soda
Stereo, which is co-producing Messi10 with Cirque.
Messi10 is set to premiere at Barcelona's Parc del Forum Oct. 10, in a
3000-capacity tent designed to look like a soccer field (Messi himself
will not be in the show). Barça fans are sure to snatch up tickets as
soon as they go on sale next week. Subsequent dates for the show's
international tour are to be announced.
{ SOURCE: Billboard }
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Cirque Acquires "The Works Entertainment"
{Feb.06.2019}
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Cirque du Soleil Entertainment Group announces today the acquisition
of The Works Entertainment, the world-class creative and production
company known for The Illusionists franchise and other variety shows.
The addition of their well-known brands to Cirque du Soleil
Entertainment Group's portfolio allows the global leader in live
entertainment to continue its diversification of content offering and
consolidate its presence in soft-seat theatres.
This transaction represents the third acquisition for Cirque du Soleil
Entertainment Group in recent years, after acquiring Blue Man Group in
2017 and VStar Entertainment Group in 2018. This acquisition confirms
the company's leading position in the industry and testifies of its
expansion from a company solely centered on circus arts to a live
entertainment creator, producer and promoter.
"The play for us is magic," said Daniel Lamarre, the president and
chief executive of Cirque du Soleil. He said Cirque became interested
in The Works because of the similarity in the performance and business
models of the two companies. "Like us, they have no stars," Mr. Lamarre
said. "The show is the star, and theyre constantly using different
magicians. The fact that theyre not focused on stars gives you
scalability."
"This transaction is a perfect example of how our group is
diversifying through acquisitions, while always investing in our core
activities," said Daniel Lamarre, president and CEO of Cirque du
Soleil Entertainment Group. "The Works productions have natural
affinities with our own, in that they are high-quality universal live
experiences that appeal to different audiences from different cultures
around the world without having to adapt the show to each market.
Magic, a genre of live entertainment that The Works has successfully
mastered through their hugely successful Illusionists franchise, has
been performed for centuries and continues to enjoy a steadfast
popularity among audiences worldwide. I'm honoured to have their
creative minds and theatrical expertise join our ranks."
Established by Creative Producer Simon Painter and Executive Producer
Tim Lawson, The Works Entertainment creates, produces and presents
first-class entertainment since 2012. The Works Entertainment has a
proven track record in mid-size theatrical productions with live magic
shows like The Illusionists, and content developed from the big screen
like Now You See Me Live. The Works' portfolio also includes circus
arts shows like Circus 1903 The Golden Age of Circus, cabaret-style
shows and musical theatre productions.
"As we were reflecting on our company's future, we were looking for
the next big step to fulfill our wildest dreams," said Simon Painter,
creative producer and co-founder of The Works Entertainment. "Joining
the team of the company that completely revolutionized circus arts and
is now leading the live entertainment industry is a true honor for us.
Cirque du Soleil's global touring expertise as well as large-scale
production insights will undeniably fuel our desired future growth in
addition to giving us access to new creative resources that we could
ever wish for. When the first journalist interviewed me about the
Illusionists back in 2011, I said, 'I want to do for magic what Cirque
du Soleil has done for circus,' and now here we are."
Cirque du Soleil Entertainment Group purchased The Works Entertainment
from owners Simon Painter, Tim Lawson and Kilburn Live. This
acquisition was financed using a portion of a new US$120 million
unsecured credit facility made available by the Fonds de Solidarité
FTQ and the Caisse de dépôt et placement du Québec.
About The Works Entertainment
Established by Simon Painter and Tim Lawson, The Works Entertainment
is a world-class leader in theatrical productions and large-scale
attractions. TWE's productions have consistently smashed box office
records, been seen worldwide and have included performances in
prestigious venues such as the Sydney Opera House in Australia, the
Shaftesbury Theatre in London and the Palace Theatre on Broadway, New
York. With a global network of affiliates and an office in the heart
of Los Angeles, The Works Entertainment is perfectly situated to offer
exceptional quality, ground breaking creativity and first-class
execution.
{ SOURCE: PR Newswire }
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More on "The Jump" for Las Vegas
{Feb.07.2019}
-------------------------------------------------------
In addition to the announcement that Cirque du Soleil Entertainment
Group was acquiring "The Works Entertainment", Lamare also said that a
seventh Cirque du Soleil show was in pre-production in Las Vegas, this
one for the Luxor Hotel. He said the yet-to-be named show is "inspired
by the movie industry," including special effects and stunt men and
women. "We're hopefully creating a new category of show," he said.
Today, a little more detail and comments emerge about what will
replace Mindfreak Live at The Luxor (via the Las Vegas Review-
Journal):
Cirque President Daniel Lamarre says the company has no plans to
develop a new magic production on the Strip in this new partnership.
Instead, the company is focused on the new extreme-sports show at
Luxor replacing "Mindfreak Live."
"That show is our priority now," Lamarre said in a phone chat
Wednesday morning. "My one-liner about that show is it's the first
live-action thriller by Cirque du Soleil. We're developing something
for the younger crowd, different from anything we have done in the
past."
Plans are for the production to be announced by the end of March, with
previews opening in October. As to reports that the show will be
called "Jump," Lamarre said that title was being used "in-house," but
the new show would have a different name.
"People will be totally excited when they see the final concept," he
added.
{ SOURCE: Las Vegas Review-Journal }
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Q&A -- Quick Chats & Press Interviews
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Meet Pablo & Patrick, BAZZAR teeterboarders
{Jan.11.2019}
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After an aerial somersault, an acrobat lands perfectly on the
teeterboard and raises his arm with a Shah Rukh Khan flourish. Take a
closer look, he's out of breath.
When the lights come on during the intermission, the Delhi smog hangs
heavy inside the tent. This is not surprising, considering Cirque du
Soleil's Bazzar has set up show in Aerocity, Delhi.
A week after the first Delhi performance, Pablo Volarcher, a French
teeterboarder travelling with the troupe to India, waits in the Big
Top with a face mask on. He removes it only when the conversation
starts. His girlfriend, he says, is at the doctor's because of her
asthma attack. Patrick Schuhmann, a German acrobat and Pablo's
partner, says the pollution affected their performance initially,
before the air purifiers were brought in. "If it gets difficult to
breathe, and you make a mistake, it has a snowball effect."
Their show in Mumbai was definitely easier, they agree. They've been
touring for nearly two months now with Bazzar, which debuted in India
instead of Montreal.
The theatrical company from Canada, with an annual revenue of nearly
Rs 6,000 crore, has brought the circus into the politically correct
world. Minus animals, plus state-of-the-art special effects, props and
stories and themes. Touring shows, such as the one currently in India,
are smaller than resident ones. Popular Las Vegas shows such as The
Beatles LOVE or O are spectaculars at par with Broadway fare.
But Bazzar is an exceptionally small act, with a troupe of about 30
artistes and minimal automation or special effects. It is almost
underwhelming. On the plus side, the attention is entirely on the
tricks of the athletes rather than on the effects or on the theme.
OUT OF BREATH
It's true that the air quality in Delhi has made the job of Bazzar's
teeterboarding trio more difficult. But better air quality does not
make their job easy. Since the time of great showman P T Barnum,
teeterboarders, like most circus acrobats, have pulled it off by the
skin of their teeth. What looks effortless during the performance is
actually precarious.
Watching a practice video on Instagram can make you breathless with
apprehension. Acrobats leap off what looks like a playground seesaw
and jump higher and higher, adding multiple flips. When one lands, the
other is flung up and they switch places in the middle of all of that.
Patrick says, "Teeterboarding never gets stable." Patrick started his
career with Cirque do Soleil but has participated in avant garde
European performances before returning to the company. "There is 10
percent luck involved. If we are suddenly a meter higher, it changes
everything the rotation, the dynamic. Up in the air, you have about
1.8 second to adjust and react," he adds.
The trio is constantly shouting calls at each other for adjustments.
The person on the ground often rushes to stabilise the others who
land. They depend on each other for their safety. In fact, getting it
right is critical for that very reason. "If I make a mistake in my own
trick, it's okay. But if it affects my partners, that can upset me for
the whole day," says Pablo.
THE MARGIN FOR ERROR
Sound more stressful than an investment banking job? "There's no time
for stress, you can't question yourself," says Slava Hahunou, the
Russian teeterboarder who joins us later. Patrick agrees that it
somehow comes together under the spotlight. "The fact that we are in
crazy costumes, make up, music, lights, the ambience, the audience,
all of it covers mistakes." And then Pablo laughs and says with
finality, "We don't make mistakes."
When the teeterboarders get philosophical, all three agree on one
thing. Their profession is about finding that balance between
adrenaline and calm. Calm? When you have to land exactly on the edge
of a seesaw after a high-jump? "There has to be a balance. Too calm,
is bad, too nervous, bad," says Slava.
But seriously, what if something does go wrong? All three are silent.
It's clear that they don't really think of that as an option.
In March 2018, a Cirque du Soleil aerialist Yann Arnaud fell during a
performance in Florida and died at the hospital later, according to
media reports. Sarah Guyard-Guillot, a French acrobat, fell to her
death in 2013 during Kà in Las Vegas. The existential question over
the cost of entertainment continues to apply to every form of circus
be it traditional Jumbo fare we grew up with or these contemporary
acts.
INDIA WANTS CIRCUS
Whatever the pain of pulling it off, the Delhi audience laps up the
acts. Every motion draws a thunderous applause. Slava, who has been
with Cirque du Soleil for a decade now, says there was a show for
underprivileged children in Bombay. "We've never had an audience that
squealed and shouted more," he says.
That this particular show is basic has not affected its popularity.
Patrick thinks that too many special effects, in fact, take the magic
away. "There is a wolf-pack simplicity when the focus in on the human
factor," he says.
Bazzar has integrated two Mallakhamb athletes into its routine. And
they have the loudest cheer from the audience. It's hard to walk away
from Bazzar without wondering if the Indian circus can be resurrected
with a focus on upgrading the resources for athletes. After all, the
fundamentals remain the same trapeze, tightrope, roller-skating,
etc. Given Bazzar has been running to packed house, it's clear that
India is starved for circus, the national drama on news channels
notwithstanding.
CIRCUS COMMUNITY
A TV crew is shooting an interview with the Mallakhamb artistes. When
it's the turn of another acrobat to go in front of the camera the
Mallakhamb practitioner removes his jacket and gives it to his
colleague. It brings to mind the camaraderie of a travelling troupe
and life before the lights turn on. But it's time to perish the
romantic stereotypes we've learned from Mera Naam Joker. Cirque du
Soleil employees do not live behind the tent. They have been put up at
hotels. They don't run away to join the circus and train with those
already on the troupe. There are specialised circus schools in Canada
and Russia. They are hired for acts and get to go back to their
families for months between performances. They can also bring their
families to any of the innumerable countries they travel to.
Most importantly, it is a financially stable career. "Especially if
you work with this company," says Patrick, who intends to start a
circus-themed bar when he retires. What will Slava do after he
retires? "Teeterboarding," he quips.
{ SOURCE: Telegraph India }
-------------------------------------------------------
Meet BAZZAR Hair Aerialist Samantha Pitard
{Jan.12.2019}
------------------------------------------------------
Pitard, 27, is a hair aerialist at Cirque du Soleil BAZZAR, showing in
Delhi till January 20. Less than five years ago, her specialised hair-
hang act nearly cost her her life, when she plunged 30 feet to the
ground with seven other acrobats while performing for the Ringling
Bros. and Barnum & Bailey circus.
Q. Can you tell us about your act at Cirque du Soleil?
My act is Hairceau, which is a combination of hair-hang (yes, I am
actually hanging by my hair!) and aerial hoop. It is an original
concept that I came up with around two years ago, while trying to
create something new and unique with hair-hang. I am super grateful to
be performing this new act with Cirque du Soleil, which has been my
goal since I started creating it! In Cirque du Soleil BAZZAR, my
performance is part of the final act, when the celebration breaks
[out] in a grande finale of dazzling acrobatics: Icarian duo, Hula
Hoop, and Hairceau.
Q. How did you decide to become an artist at the circus?
I fell in love with aerial arts at a summer camp when I was 14, and
never stopped!I love that in any Cirque du Soleil show, we are not
just doing our act but we are also a character and we have a lot of
other little parts in the show. In BAZZAR, I have absolutely loved
developing my character; I gave her the name Salamandra.
Q. What is your practice regime like?
As artists, we perform around ten shows a week, which makes our
routine extremely hectic. In order to maintain a balance for a healthy
lifestyle, we are provided with fitness training and are taught
breathing exercises. One month before the première, we start training
and rehearsing for our shows.
Q. How has it been performing in India?
There is nothing more exciting than performing for an audience that
has never before experienced Cirque du Soleil. There is a very special
energy in this first.
{ SOURCE: The Week }
-------------------------------------------------------
Priscilia Le Foll: "Every Millisecond in Life Counts"
{Jan.14.2019}
-------------------------------------------------------
Despite suffering from thyroid cancer last year (2017), the French
Cirque du Soleil touring show singer Priscilia Le Foll still enchants
thousands of spectators with her voice every day. Having defeated the
disease, her voice is now even stronger than before. Read another
amazing story full of courage.
Growing up, she was a tom-boy, preferring to play with the boys rather
than girls. "I was always climbing trees and skating," says the
thirty-six-year-old brunette of her childhood in Nîmes, in the south
of France. "Many things interested me, and I think I was pretty good
at sport, but when I was fourteen I fell totally in love with
singing," says the singer, full of energy and optimism.
The career-launching moment for her singing was a performance at a
talent contest. Her friends had entered her without telling her. "I
was always singing and my friends would say that I should try doing
with it. I had never thought about singing professionally, but my
friends were serious. The contest would be the first time I was going
to stand on stage. I had terrible stage fright. I clearly remember
that," she says. But her performance was a success and the jury
advised Priscilia to continue singing, saying that she had a beautiful
gift.
On completing school, she chose not to continue with her studies.
Instead, she wanted to sing professionally and perform with an
orchestra. "I listened to pop stars such as Mariah Carey and Céline
Dion a massive influence for me. I liked the way she sang and the
way she truly lived the moment on stage. She always has a very
generous and convincing persona. However, I was more eclectic than
that. I also love rock bands, like DEEP PURPLE and LED ZEPPELIN," adds
Priscilia as she sums up her music tastes.
WHEN THE DREAM IS FOLLOWED BY A NIGHTMARE
The singer says she never wanted to be famous. Being a star, doing
interviews and filling the front pages of tabloids was not a major
motivation for her. All in all, she just wanted to be happy on stage:
"Every day I can sing is a wonderful day for me. I love travelling,
drawing on other artists for inspiration and sharing the stage with
them. I love the costumes and visuals, but also our show's message,
which is focused on solidarity, perseverance and the importance of
nature. I feel there's a strong parallel with my remission." Joining
Cirque du Soleil® was a dream come true for her.
In 2017, she was diagnosed with thyroid cancer. "That was terrible
news. It hit me hard, just as it does anyone who has ever had to hear
this diagnosis. At first, I was afraid I was going to die, and right
after that, I feared I might never sing again," she explains as she
remembers the most difficult moments of her life. Less than three
weeks after her cancer diagnosis, she underwent successfully surgery
to remove the whole tumour. But there was still a long way to go.
A NEW BEGINNING FULL OF COURAGE
When the anaesthesia wore off and she came to, the doctors told her
she was not allowed to speak. The severe inflammation meant she
couldn't use her vocal cords for three months. There is still a risk
of partially losing her voice forever. "Only after that I could start
talking, very slowly, but it was really terrible. I sounded like a
robot and didn't recognise my own voice. I was very afraid I'd never
be able to sing again," she says.
At the time, Priscilia would swing between hope and absolute despair.
She couldn't imagine life without singing, which would also spell the
end of her hard-earned career. So she devoted all her remaining energy
to working towards complete recovery. After three long months,
Priscilia could finally start from the very beginning again. "I felt
like a little child learning to walk. I was entirely incapable of
using my vocal cords," she remembers. Thanks to her vocal coach,
speech therapist, kinesiologist and her own determination, she
achieved the near-impossible. Not only did she return to her original
singing strength, she was able to gain a wider vocal range in the
process. With daily technical exercises and different therapies, she
returned to the stage four months after the surgery to slowly
integrate into the Cirque du Soleil touring show in New Zealand, a
country she had dreamt of visiting.
DON'T LET NONSENSE BOTHER YOU
Today, Priscilia reflects on her fight with cancer with respect,
humbleness and gratitude. Overcoming the disease has been a win-win
situation for her. "I believe cancer has changed my life. I am
enjoying every millisecond of it today and definitely don't fret over
insignificant nonsense," she says with a smile. She has stopped
planning her life and decided to live for the present, day to day. She
relies o her intuition and momentary mood. But there's one small dream
she still has. One day, she would like to combine the two loves of her
life. "I used to figure-skate when I was young and recently started
training on ice again. I'd like to skate and sing in one show, now
that would be something!"
Beyond all that, she doesn't rule out the possibility of opening a
small restaurant one day, where all her friends and family would
gather. If there's a lesson this challenge brought her, it's that you
never know what tomorrow will bring
so you must make the best of
every day and keep moving forwards!
{ SOURCE: Skoda Storyboard }
-------------------------------------------------------
"Aleksei Goloborodko, the World's Most Flexible Man"
{Feb.06.2019}
-------------------------------------------------------
The 24-year-old contortionist talks extreme stretching, meal planning,
and his advice for aspiring circus performers everywhere.
On the spectrum of human flexibility, 24-year-old Aleksei Goloborodko
lies somewhere between "world-class contortionist" and "literally made
of pipe cleaners." Originally from Tula, Russia, the Bronze Clown
winnerthe circus world's equivalent of the Oscarsis currently
crisscrossing the globe (and his body) on tour with Cirque du Soleil's
pAroduction of Luzia. We asked the most flexible man in the world to
share with us the details of his training regimen; the dietary
restrictions imposed by chronic bendiness; and his advice for anyone
else who aspires to take the coolest Instagram photos imaginable.
Q. How did you get started with Cirque?
Cirque du Soleil first discovered me at an audition in Moscow when I
was 8. I auditioned again for them at 17; they called me two years
later to join the creation of Luzia. My mom took me to a circus show
when I was 4, and afterwards I told her I wanted to join the circus.
She brought me to a circus studio where I met my coach. After testing
me with exercises, he said he would make me a contortionist. It didn't
matter for me which discipline I would do; I just wanted to be in the
circus. It's my lifestyle, and I love it, and I just do it. I started
when I was 4 years old, and since then I haven't stopped. It's not
like I'm forcing myself to do something. My body loves it.
Q. What's your typical day like?
I wake up around 9:30 A.M. and stretch for 10 to 15 minutes before I
make myself breakfast. Breakfast can be oatmeal or a sandwich and hot
teabasic stuff. Then I relax for, like, 40 minutes. I can read a book
or play video games. Then I start stretching and training for the rest
of my show routine. I don't really have dietary restrictions. I can
eat anything: cake, an apple, chocolate, fruit, soup. I eat at least
five meals a day, but my rule is that I eat small portions more often.
I can't eat a lot at once, or I'll have issues with contorting.
My discipline consists of many sub-disciplines: the base is
contortion, with sub-disciplines such as hand-balance, ballet, modern
dance, wushu, martial arts, and more. My morning training takes an
hour and a half. Then I relax for about 20 minutes, and eat something
like an apple or small bowl of fruit, before heading to the circus.
There, I put my makeup on and train for a couple of hours. I do some
cardio, and stretch, and do handstands. I take a break for about an
hour in the middle. After a show, I come home and something before I
go to bed, do a little more stretching, and then finally fall asleep.
Q. I saw that you are a NASM-certified trainer and behavior change
specialist. Why did you choose to get those certifications, and how
do you use them?
I wanted to improve my English, and I thought taking a course would be
the best way. I did the personal trainer certification to find out
more about the human body. The behavioral change course was
interesting to get to know how our mind works, too.
Q. Is there a particular order or regimen to your stretching?
No, but during the course of the day I need to stretch my entire body
each part of it. So of course, it is structured in that way, but it
also depends on when it happens. For example, mornings are the most
difficult time for stretches, but I still have to do it because my
body asks me to stretch. Developing my routine was a joint effort
between me, the choreographerSylvia Gertru'dix Gonza'lezand her
assistant. We would film me, and we then decide, like, "Okay, this
movement looks great and we'll keep it," or "This movement doesn't
look very good, so we'll save it for a backup movement, if we need
one."
Q. Do you have a favorite stretch?
There's no such thing for me. It doesn't matter what it is, I just
love stretching.
Q. How does it feel when you're in these crazy positions? Does it feel
uncomfortable or tight or anything like that?
No, it doesn't feel tight. It always feels pretty good because I take
between 40 and 45 minutes to warm up before I go on stage. The warm-up
consists of pretty basic stuffI do cardio for five minutes, and then
begin with slight movements. They are not extreme, they are very
small, but get bigger after that. I haven't ever been injured, because
my rule is to always do the warm-up first, then stretch, and then
practice.
Q. Do you have any advice for people who want to become
contortionists?
If you want to be a professional contortionist, the younger you are,
the better it goes. If you try to begin when you're 16 or 18, you can
start, but you're not going to be an extreme contortionist. You will
achieve some results, and they can be really good if you work hard!
But it's not going to be extreme.
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia, Totem & Volta}
o) ARENA - In Stadium-like venues
{TORUK, OVO, Séptimo Día, Crystal & Corteo}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE & JOYA}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Alegria-25th Anniversary:
Montreal, QC -- Apr 18, 2019 to Jul 21, 2019
Gatineau, QC -- Jul 31, 2019 to Sep 1, 2019
Toronto, ON -- Sep 12, 2019 to Dec 1, 2019
Amaluna:
Dallas, TX -- Jan 23, 2019 to Mar 3, 2019
Phoenix, AZ -- Mar 15, 2019 to Apr 14, 2019
Los Angeles, CA -- Apr 25, 2019 to May 26, 2019
Bazzar:
Abu Dhabi, UAE -- Mar 6, 2019 to Mar 16, 2019
Muscat, Oman -- Mar 28, 2019 to Apr 6, 2019
Koozå:
Auckland, NZ -- Feb 15, 2019 to Mar 17, 2019
Valencia, ES -- May 30, 2019 to Jun 30, 2019
Gijon, ES -- Jul 31, 2019 to Aug 18, 2019
Malaga, ES -- Sep 13, 2019 to Sep 29, 2019
Madrid, ES -- Oct 24, 2019 to Nov 24, 2019
Kurios:
Fukuoka, JP -- Feb 15, 2019 to Mar 31, 2019
Sendai, JP -- Apr 19, 2019 to May 29, 2019
Singapore, SG -- Jul 5, 2019 to Jul 21, 2019
Luzia:
Houston, TX -- Jan 11, 2019 to Feb 24, 2019
Orlando, FL -- Mar 8, 2019 to Apr 21, 2019
New York City, NY -- May 3, 2019 to Jun 9, 2019
Hartford, CT -- Jun 19, 2019 to Jul 7, 2019
Totem:
London, UK -- Jan 12, 2019 to Feb 26, 2019
Vienna, AT -- Mar 9, 2019 to Apr 22, 2019
Geneva, CH -- May 9, 2019 to Jun 2, 2019
Gran Canaria, ES -- Jul 5, 2019 to Sep 1, 2019
Düsseldorf, DE -- Dec 19, 2019 to Jan 19, 2020
VOLTA:
San Francisco, CA -- Nov 15, 2018 to Feb 3, 2019
San Jose, CA -- Feb 13, 2019 to Mar 24, 2019
San Diego, CA -- Apr 3, 2019 to May 5, 2019
Chicago, IL -- May 18, 2019 to Jul 6, 2019
Denver, CO -- Jul 19, 2019 to Aug 25, 2019
Atlanta, GA -- Sep 13, 2019 to Nov 30, 2019
Washington, DC -- TBA
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
TORUK - The First Flight:
Madrid, ES -- Jan 30, 2018 to Feb 3, 2018
Pamplona, ES -- Feb 6, 2019 to Feb 10, 2019
Milan, IT -- Feb 14, 2019 to Feb 19, 2019
Lyon, FR -- Feb 20, 2019 to Feb 24 2019
Bratislava, SK -- Feb 28, 2019 to Mar 3, 2019
Krakow, PL -- Mar 6, 2019 to Mar 10, 2019
Antwerp, BE -- Mar 13, 2019 to Mar 17, 2019
Paris, FR -- Apr 4, 2019 to Apr 14, 2019
Moscow, RU -- Apr 19, 2019 to May 5, 2019
St. Petersburg, RU -- May 8, 2019 to May 12, 2019
Helsinki, FI -- May 15, 2019 to May 19, 2019
Vilnius, LT -- May 22, 2019 to May 26, 2019
Prague, CZ -- May 29, 2018 to Jun 2, 2019
Munich, DE -- Jun 5, 2019 to Jun 9, 2019
Zurich, CH -- Jun 12, 2019 to Jun 16, 2019
Manchester, UK -- Jun 20, 2019 to Jun 23, 2019
London, UK -- Jun 26, 2019 to Jun 30, 2019
OVO:
Belo Horizonte, BR -- Mar 7, 2019 to Mar 17, 2019
Rio de Janeiro, BR -- Mar 21, 2019 to Mar 31, 2019
Brasília, BR -- Apr 5, 2019 to Apr 13, 2019
São Paulo, BR -- Apr 19, 2019 to May 12, 2019
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Milwaukee, WI -- Jan 30, 2019 to Feb 3, 2019
Regina, SK -- Feb 7, 2019 to Feb 10, 2019
Edmonton, AB -- Feb 13, 2019 to Feb 17, 2019
West Valley City, UT -- Mar 7, 2019 to Mar 10, 2019
Ontario, CA -- Mar 13, 2019 to Mar 17, 2019
Bakersfield, CA -- Mar 20, 2019 to Mar 24, 2019
Sacramento, CA -- Mar 27, 2019 to Mar 31, 2019
Stockton, CA -- Apr 3, 2019 to Apr 7, 2019
Everett, WA -- Apr 10, 2019 to Apr 14, 2019
Duluth, MN -- Apr 19, 2019 to Apr 21, 2019
Omaha, NE -- Apr 24, 2019 to Apr 28, 2019
Madison, WI -- May 1, 2019 to May 5, 2019
Peoria, IL -- May 8, 2019 to May 12, 2019
Grand Rapids, MI -- May 15, 2019 to May 19, 2019
Saginaw, MI -- May 22, 2019 to May 26, 2019
Frisco, TX -- Jun 13, 2019 to Jun 16, 2019
Philadelphia, PA -- Jun 20, 2019 to Jun 23, 2019
Allentown, PA -- Jun 26, 2019 to Jun 30, 2019
Kingston, ON -- Jul 3, 2019 to Jul 7, 2019
Erie, PA -- Jul 10, 2019 to Jul 14, 2019
Charlotte, NC -- Jul 17, 2019 to Jul 21, 2019
Manchester, NH -- Aug 1, 2019 to Aug 4, 2019
Portland, ME -- Aug 7, 2019 to Aug 11, 2019
Moncton, NB -- Aug 14, 2019 to Aug 18, 2019
Saint John, NB -- Aug 21, 2019 to Aug 25, 2019
Halifax, NS -- Aug 28, 2019 to Sep 1, 2019
CORTEO:
Memphis, TN -- Jan 31, 2019 to Feb 3, 2019
Raleigh, NC -- Feb 7, 2019 to Feb 10, 2019
Bossier City, LA -- Feb 14, 2019 to Feb 17, 2019
Cedar Park, TX -- Feb 20, 2019 to Feb 24, 2019
Portland, OR -- Mar 14, 2019 to Mar 17, 2019
Reno, NV -- Mar 21, 2019 to Mar 24, 2019
Inglewood, CA -- Mar 27, 2019 to Mar 31, 2019
Tucson, AZ -- Apr 3, 2019 to Apr 7, 2019
Rio Rancho, NM -- Apr 11, 2019 to Apr 14, 2019
Topeka, KS -- Apr 18, 2019 to Apr 21, 2019
St. Louis, MO -- Apr 24, 2019 to Apr 28, 2019
Cedar Rapids, IA -- May 1, 2019 to May 5, 2019
Dayton, OH -- May 8, 2019 to May 12, 2019
Windsor, ON -- May 15, 2019 to May 19, 2019
Hamilton, ON -- May 22, 2019 to May 26, 2019
London, ON -- Jun 13, 2019 to Jun 16, 2019
Boston, MA -- Jun 19, 2019 to Jun 30, 2019
Baltimore, MD -- Jul 3, 2019 to Jul 7, 2019
Estero, FL -- Jul 17, 2019 to Jul 21, 2019
Sunrise, FL -- Jul 24, 2019 to Aug 4, 2019
Turin, IT -- Sep 26, 2019 to Sep 29, 2019
Bologna, IT -- Oct 10, 2019 to Oct 13, 2019
Pesario, IT -- Oct 17, 2019 to Oct 20, 2019
Leipzig, DE -- Oct 23, 2019 to Oct 27, 2019
Frankfurt, DE -- Oct 30, 2019 to Nov 3, 2019
Nuremberg, DE -- Nov 6, 2019 to Nov 10, 2019
Graz, AT -- Nov 13, 2019 to Nov 17, 2019
Stuttgart, DE -- Dec 18, 2019 to Dec 22, 2019
Mannheim, DE -- Dec 25, 2019 to Dec 29, 2019
Granada, ES -- Jan 15, 2020 to Jan 19, 2020
Zargoza, ES -- Jan 22, 2020 to Jan 26, 2020
Vitoria-Gasteiz, ES -- Jan 29, 2020 to Feb 2, 2020
Santiago de Compostela, ES -- Feb 5, 2020 to Feb 9, 2020
Seville, ES -- Feb 12, 2020 to Feb 16, 2020
Messi10:
Barcelona, ES -- Oct 10, 2019 to Nov 10, 2019
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
*) Single Show Dates | 7:00 p.m. Only
o) Friday, Feb. 15, 2019
o) Tuesday, Feb. 19, 2019
o) Friday, May 31, 2019
o) Sunday, June 9, 2019
o) Friday, June 14, 2019
o) Sunday, June 23, 2019
*) 2019 Dark Dates:
o) January 5 thru 16, 2019
o) February 3, 2019
o) March 13, 2019
o) May 18 thru 22, 2019
o) August 20 thru 21, 2019
o) September 21 thru 25, 2019
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm
*) Single Show Dates | 7:00 pm Only
o) Tuesday, Jan 8, 2019
o) Monday, Apr 22, 2019
o) Tuesday, May 21, 2019
o) Tuesday, Jun 25, 2019
o) Tuesday, Nov 5, 2019
*) 2019 Dark Dates:
o) 9:30 PM Performance of January 9
o) 9:30 PM Performance of April 18
o) 9:30 PM Performance of May 22
o) 9:30 PM Performance of June 26
o) 9:30 PM Performance of November 7
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Thursday through Monday - Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
PARAMOUR:
Stage Theater New Flora
Hamburg, Germany
Begins April 5th, 2019!
One/Two Shows Nightly:
o) Monday: Dark
o) Tuesday: 6:30pm
o) Wednesday: 6:30pm
o) Thursday: 8:00pm
o) Friday: 8:00pm
o) Saturday: 3:30pm & 8:00pm
o) Sunday: 2:30pm & 7:00pm
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) GOING FULL CIRQUE
A Broadway dancer leaves fame, friends and family behind for the
dream of flying as an aerialist with Cirque du Soleil.
o) EPISODE 7: Add a Pinch of Emotion {Jan.10}
Only two episodes left of Going Full Cirque! Watch as
Reed Kellybrings his routine to the Cirque du Soleil studio
to prep for his showcase performance.
LINK /// https://www.facebook.com/GoingFullCirque/videos/2315659901996136/
*) WE ARE VOLTA
o) EPISODE 4: "Food and Fitness" {Jan.07}
LINK /// https://www.facebook.com/VOLTA/videos/1017376805114657/
o) EPISODE 5: "Inspirations" {Jan.21}
LINK /// https://www.facebook.com/VOLTA/videos/230497431186169/
o) EPISODE 6: "The Magic of Cirque du Soleil" {Feb.04}
LINK /// https://www.facebook.com/VOLTA/videos/246287882965841/
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
o) Discover the Frozen Playground of CRYSTAL
LINK /// https://www.youtube.com/watch?v=XnQDmKeRz4I
o) Behind the Scenes of the NEW Cirque Casting Brand Identity
LINK /// https://www.youtube.com/watch?v=PiIzR9CUYcw
o) Messi10 Teaser
LINK /// https://www.youtube.com/watch?v=95iz7ucFcKI
o) TORUK Music | "The Toruk"
LINK /// https://www.youtube.com/watch?v=v-9vJDy9s8g
o) Come into the JOYA Costume Department!
LINK /// https://www.youtube.com/watch?v=87QV6X7m3SU
o) Candy Crush Makeup
LINK /// https://www.youtube.com/watch?v=7FnKm2CCAxQ
o) Beauty and Wonder Await Cirque at SEA
LINK /// https://www.youtube.com/watch?v=Zodfui8Hdsg
o) Flirty Floral Makeup
LINK /// https://www.youtube.com/watch?v=dvwxbn-DzwY
o) "O" MUSIC VIDEO | "O"
LINK /// https://www.youtube.com/watch?v=TzPhseGpL2A
o) The Works Entertainment Joins the Family
LINK /// https://www.youtube.com/watch?v=PWn5WXB1_6Y
o) JOYA - Skipping Rope Performers: What Does it Take?
LINK /// https://www.youtube.com/watch?v=R539JRRnxrY
o) Messi10: The Game is About to Start
LINK /// https://www.youtube.com/watch?v=pJWwr57aILE
o) Amaluna Music Video | "Ena Fee Alyne"
LINK /// https://www.youtube.com/watch?v=NiRRYoZs0Rg
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Big Top Academy Stars Talk Circus"
By: Kim Campbell for Circus Talk News
o) "Jamie Sullivan's Journey to JOYÀ"
By: Ashley Sutherland-Winch for TheaterArtLife
o) Jean David's Quel Cirque, Part 2 of 12: "The Appointment"
A Special Series Celebrating Cirque's 35th Anniversary
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"Big Top Academy Stars Talk Circus"
By: Kim Campbell for Circus Talk News
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Big Top Academy is a new circus-themed show on Discovery Kids Network
that premiered October 15th, 2018. Set in a fictitious circus boarding
school, it features the exciting lives of eight young acrobats who are
dreaming of becoming professional circus artists. It is the brainchild
of none other than Cirque Du Soleil Entertainment Group and
collaborators Apartment 11 and Discovery Kids, who aims to build its
ever increasing audience by showing the thrilling world of circus to
the 8 to 14-year-old set.
The first season (over 52 episodes) have been filmed already for this
huge project. Sending out a simple message (on television) to young
people that circus can be more than entertainmentthat it can be a
lifestyle, a passion, a second family, or a place to mix some of the
competitive demands of sports with creativity, the series is in many
ways groundbreaking and is sure to inspire a new generation of circus
artists. At least, that's what the shows creators and actors hope.
While the plot and the timeless tween themes center around belonging
and finding oneself, the core of the show is based on the concept of
stringent circus arts training as the eight youth arrive with various
skill sets and backgrounds and are put to the challenge by their kind
headmistress Miss G, their stern athletic director Sir Rayne and their
eccentric teacher Ms. Martel. The look and feel of Big Top Academy
holds some of the cheese factor of Disney shows geared towards tweens
and is somehow heightened by its embracing of traditional and nouveau
circus costumes and sets. Each episode cover common experiences among
youngsters aiming to find their place in the world, such as
competition, separation from family to find one's own identity,
looking for balance between work and play, and the struggle to work in
a group settingbut they do it in a circus context. Even so, the plot
isn't without some fascinating back story sometimes reaching beyond
tween drama and visiting the fantastical. One character named Ella
(played by the charming Ava Ro) comes from a long line of circus as a
member of the Piccolo Family Circus, but she also suffers from
diabetes. Another character Nicholas Zolta (played by confident young
artist Drew Davis) has to fill his missing daredevil father's shoes a
father who may be communicating to him via coded messages.
We had the pleasure of speaking to two key actors and performers
Ellowyn Stanton and Krin Haglund about what it is like to be one of
the stars in Big Top Academy. Stanton and Haglund are at different
points in their circus journeys, Stanton being a middle schooler on
track for a big future in performing arts, and Haglund being a
seasoned circus professional with two children of her own.
Stanton plays one of the students in the show named Phoenix. Her own
experience in circus is formidable for a 14-year-old. She has trained
atLe PeTiT CiRqUe's studio in Los Angeles for the past four years with
Nathalie Yves Gaulthier, whose work with youth in many ways closely
parallels the Cirque du Soleil model. Before Stanton was a circus
artist, she was a competitive gymnast for six years, which gave her
that firm foundation in athleticism Cirque du Soleil often seeks in
its artists. Her own life is very different from her character's life,
Stanton explains "She's never taken a circus class, let alone a
gymnastic lesson! So she never expected to be a circus artist.
Everything Phoenix knows, she's picked up on her own by basketball,
skateboarding, parkour, etc. So when she gets in to circus school, she
has a lot of catching up to do, and she does her best to fit in while
remaining true to herself. She learns that the circus embraces people
from all walks of life and the things that make her unique her
street smarts, her bluntness, her aversion to everything "fancy"
only helps to make her a well-rounded circus artist."
Stanton explains why she made the shift from gymnastics to circus, "I
got bored of competing all the time and I wanted to do something more
creative. I wanted to find something that included my athleticism as
well as my creativity. And that's when I joined the circus." She has
yet to hone in on one particular discipline of circus, but favors
aerial acts (especially a duo trapeze act she is very fond of),
acrobatics and manipulationa foundation that would surely make her a
great cast member in any contemporary show. Regarding her future in
circus, Stanton does not rule it out and says she would like to
continue her training indefinitely.
But what does Stanton have to say about the show and its meaning to
kids? " Big Top Academy shows how important it is to work together to
help each other learn and grow, as artists and as a people. The
message shows that friends are supposed to help lift each other up.
This is a great message for the kids watching the show, because at
their age, friendship is very important."
Another important feature of circus that Stanton gets is how it allows
diversity of talent, and she feels that the show highlights that to
kids, "Big Top Academy includes kids of all talents and specialties.
Everyone in [the show] is so different and unique in their own way. I
think this will really help show kids that there is a place for
everyone."
Stanton's acting colleague, Krin Haglund, who plays the role of kooky
teacher Miss Maddy Martel, has a long history of circus as well, and
one that scored her more than just a leading role. She came to the
show somewhat late in the process in 2017. She decided to audition for
it after her run with 7 Fingers show Vice & Vertu was over.
As the only professional circus artist in the show, she describes her
role onstage and off. "Off stage with Big Top Academy, I am a circus
coach and I have worked on artistic direction of clown acts, character
acts and performances. I also cast the non-recurring circus artists
and poke my nose into the writers room as much as possible. The Big
Top Academy writers may not do circus, but they have put a lot of
heart, care and sweat into best representing circus in the show."
>> I like to think that knowing circus schools are out there, even
>> fictions ones like Big Top Academy, would have saved me years of
>> indecision.
Haglund recognizes the importance of a show like Big Top Academy in
the world of children's entertainment. She laments the fact that her
own journey to circus was so circuitous, "A TV show like Big Top
Academy changes the landscape of children's imagination. I almost
didn't have a career in circus because of my own failure to dream.
When I was a kid, I wanted to be a trapeze artist when I grow up',
but then there were no circus classes in Madison, Wisconsin. My dad
rigged a trapeze in the backyard but I still thought circus was
something you had to be born into."
Haglund found other creative and athletic outlets for her artistic
nature, but eventually she circled back to her childhood dream, "By
the time I graduated from college and moved to San Francisco, I
thought I was too old ever be a professional. I'd basically given up
before I even started! Then, the first time I walked into the San
Francisco Circus Center and looked up at the trapeze rig, aerial
equipment, and people stretchingI started to cry. I'm so grateful to
have been working ever since I left Circus Space and I like to think
that knowing circus schools are out there, even fictions ones like Big
Top Academy, would have saved me years of indecision. And, of course,
when I was a girl, I would have been a huge fan of the show."
Haglund credits the flexibility inherent in a circus artist's life as
the reality which make working in television show as an actor and
coach feasible for her, "As a circus artist and director, I'm used to
doing many different things on and off stage in order to make the show
work. It's the norm for small companies and I thrive on the challenge
of variety. As a television actor, you generally do one job. My
circus background lead me to want to learn more and be more involved
in other aspects of the production. Wearing many hats suits me!"
But Haglund says working in a new medium has had its challenges,
"Television has definitely been a learning curve. But, I've found the
process of how TV is made, and the ways circus is portrayed on screen
fascinating. I'm really proud to be part of the first major circus TV
series."
On IMDB, Big Top Academy is rated 9.5 out of 10. Although it is too
soon to predict if the show will be another feather in the cap of
Cirque du Soleil, or if it will get lost in the sea of children's
entertainment, it seems possible that this new angle on circus will
strike a note with the underage population who grew up on America's
Got Talent and other reality TV shows. Perhaps it will show them an
actual pathway to becoming a performer rather than just the outcome of
being a star. Maybe it will lend inspiration to the children with
dreams similar to Haglund's, providing a road map rather than
uncertainty on how to get from step A to B. At the very least, it may
reinvent the concepts of circus for youth, mingling the traditional
romance of the traveling family circus with the athletic demands and
disciplines of contemporary circus.
# # #
FASCINATION NOTE: Although 52 episodes have been filmed for the
series, only 26 have aired thus far. Don't worry if you've missed
seeing them because so have we! And if you've missed seeing these
episodes don't fret because so have we! The series is airing on
Discovery Kids in Latin America (and airing in Canada) and any online
videos are region locked. Be that as it may... here's what the rest of
us have missed:
01. "Hanging by a Moment" -- Nicholas Zolta sneaks off to the
auditions without his mother's blessing; once there, his father's
legacy precedes him; he wonders if he is good enough to get into the
school and honor the great Nicholas Zolta Sr., legendary daredevil.
02. "Common Ground" -- When Nicholas' amulet shows him a mysterious
map, he is convinced it must be a message from his father who
disappeared years ago.
03. "Lean on Me" -- During their first assignment at Big Top Academy,
first-year students are asked to trust in one another; Max and
Nicholas are an unlikely pairing but get along well.
04. "Welcome to the Jungle" -- First-year students are assigned spirit
animal cards and must use them to create routines.
05. "Fight For It" -- With the Creation showcase just one day away,
the students are under more pressure than ever before; April is sure
she'll get the coveted spot in the grand finale and competes against
Max to secure her position.
06. "Creation" -- The Creation showcase is finally here; Max is
confident he'll be the star of the show, but Miss G says his routine
lacks artistry, telling him to get some help from Nicholas.
07. "Fake It Till You Make It" -- Nicholas may have been injured
during the showcase, but he returns more determined than ever to find
out what happened to Sir Rayne while he was a student at Big Top
Academy.
08. "Far From the Tree" -- Nicholas and Max dig further into Big Top
Academy's mysterious history and uncover secrets that will change
everything they once knew about their fathers.
09. "Catch 22" -- Nicholas' injured wrist heals in time for the
midterm student showcase auditions; things seem to be lining up, until
Nicholas pushes himself too hard during training and learns that
ignoring his body's signals is a mistake.
10. "Bad Vibes" -- April is ecstatic that she's been cast as the lead
in the upcoming showcase; everything's going her way, until Nicholas
and Phoenix's feud threatens to ruin it.
11. "Open Book" -- Phoenix is desperate to rekindle her friendship
with Nicholas, so when she discovers that the Secret Book of Circus
Secrets might help Nicholas find out more about his father, she sees
it as the perfect opportunity to make amends.
12. "Little Lies" -- Nicholas uses his amulet to discover secret text
hidden within the Secret Book of Circus Secrets and learns about a
mysterious incident from the past involving his father and Sir Rayne.
13. "The Show Must Go On" -- Big Top Academy's midterm student
showcase is about to begin, and the students are in crisis.
14. "Brave New World" -- Sir Rayne's appointed headmaster brings new
initiatives and rules and forms an elite team for the academy's best.
15. "Balancing Acts" -- With Big Top Academy under Sir Rayne's rule,
the pressure to figure out his evil plan is greater than ever; Phoenix
joins his elite team in hopes of uncovering the truth and is surprised
by what she discovers instead.
16. "The Rebellion" -- Nicholas is ecstatic when the North American
Circus School Championships are announced, until he realizes Sir
Rayne's team qualified without giving anyone else a chance; to even
the scales, Nicholas creates a secret team, the Phenomenal Five.
17. "David vs. Goliath" -- The Phenomenal Five are riding high, until
they see Sir Rayne's team's routine; if they want to beat them,
they're going to have to up their game; Nicholas will have to pull the
whole team together now more than ever.
18. "True Champions" -- It's time for the teams to compete in the
qualifiers; Sir Rayne finds out about Max's Olympic training and
intervenes right before his big performance; Max feels betrayed, and
he's not the only one.
19. "The Weight of the World" -- April realizes that the only way to
qualify for the championships is to merge her team with Nicholas'
team, which has been renamed the Secret Six after the addition of a
new member; she must convince a skeptical Nicholas.
20. "Pie Day" -- Pie Day is an annual tradition during which students
throw pies and race through checkpoints around the school; Phoenix
tries to distract Max from his issues with Sir Rayne by getting him to
join in and have some fun.
21. "The Choice" -- Max feels like there's nothing left for him at Big
Top Academy and contemplates leaving for good; Phoenix reminds Max
that circus is a family and that his friends need him.
22. "Under Pressure" -- With the North American Circus School
Championships approaching, Sir Rayne tells Nicholas he can overcome
his fear of heights by using a mysterious invention known as the
marble of invincibility.
23. "Catch Me If You Can" -- Since being affected by the marble of
invincibility, Nicholas is a whole new person; he's confident,
fearless and kind of mean.
24. "We Need to Talk About Nicholas" -- When BTA United team members
turn their backs on Nicholas, he goes overboard to prove they need
him; Phoenix, Chase and Max wonder about Nicholas' behavior and look
for an explanation in the Secret Book of Circus Secrets.
25. "Father of Mine" -- Nicholas is still affected by the marble, and
Phoenix and Max have no idea how to make him right again; Rosa arrives
for the championships with her mentor.
26. "The Marble and the Violin" -- The North American Circus School
Championships are about to begin; now that Nicholas is back to normal,
it's time for the students to focus their efforts on stopping Sir
Rayne from getting his hands on the Marble of Invincibility.
More to come!
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"Jamie Sullivan's Journey to JOYÀ"
By: Ashley Sutherland-Winch for TheaterArtLife
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In one of the most exotic of places on Earth, the Riviera Maya on the
outskirts of Cancun, Mexico, Jamie Sullivan works as the Operations
Director for JOYÀ. A joint venture between Cirque du Soleil's 45
DEGREES and luxury resort Vidanta, JOYÀ is Mexico's must-see-
spectacular. Jamie began her journey with JOYÀ as the General Stage
Manager in 2015 and in a short period of time was promoted to run the
entire operation. Jamie joined me on a casual day off Sunday under a
luxury cabana to share her journey from growing up in Las Vegas,
moving to Mexico to join JOYÀ, and her personal and professional
growth along the way.
"I was actually on my way to start school as a musical theatre actress
after I finished high school," Jamie began. "I was putting myself
through college, so I wanted to live at home during my first two years
at school to get all of the core classes done. During this time, I was
working two jobs and taking 21 credits. When the first play auditions
were posted at my community college, I auditioned but unfortunately,
was too young compared to the rest of the cast. The director, one of
my professors, said that he still wanted me to be involved in the play
even though I couldn't be cast. He asked, "Why don't you be an
assistant stage manager for the production?" I said,"ok!"
"We did the play and then when the next show came along six months
later, I asked if I could be the assistant stage manager again. This
time, my director told me that I must audition for an acting role. So,
I auditioned and he handed me a part, but I didn't want it. I told him
that I wanted to participate as a stage manager again.
After that, seeing that my interest had changed, my director, who had
a link to a Southern Utah University in Cedar City, helped me get a
scholarship. I was able to get a degree in Stage Management in 2003
and began to work for the Utah Shakespeare Festival, which is in the
top ten for regional theatre in the United States."
Jamie worked with the Utah Shakespeare Festival on and off for seven
years and upon her return to Las Vegas, she landed a job as an on-call
stage manager for Cirque du Soleil's Zumanity in 2007. Shortly after,
Jamie was hired as a full-time assistant stage manager (ASM) at Cirque
du Soleil's Mystère.
"I was an ASM at Mystère for seven years and then promoted from ASM to
stage manager. At times, I acted as the interim general stage manager
(GSM). From there, I took a leap of faith and applied for the GSM
role at JOYÀ. In March 2015, I got the job. In January of 2017, we
were doing a restructure at the show and my boss, our show director,
recommended that I apply for the role of Operations Director. They
decided to take a chance on me and here I am!"
JOYÀ, the first Cirque du Soleil resident show in Mexico, combines
culinary and performing arts in an intimate theater setting to engage
the audience's five senses. Drawing on Mexico's history and heritage,
JOYÀ tells the story of an alchemist and his granddaughter embarking
on a quest to uncover the secrets of life. Don't miss the opportunity
to taste extraordinary dishes and live an unforgettable night
exclusively at the Cirque du Soleil Theater at Vidanta Riviera Maya.
JOYÀ is a thrilling and whimsical show in which joy, courage and
friendship conquer all!
Jamie's normal day can vary greatly when she enters the JOYÀ theater
between 1:30-2:00 pm each day. However, her stage management training
allows her to keep a calm head and roll with changes as they occur.
"I'm always available and check my phone just to see if any messages
are coming through, but in general the rule is that I give myself at
least one hour in the morning to myself. I quickly check my phone
where I can see the previews of emails and messages. If nothing seems
urgent, I take a cup of coffee and read a book or do whatever personal
errands I need to do," she explains.
"Then I'll take about one hour in the morning and start returning
emails. Sometimes I find it to be more efficient to take time in the
quiet and serenity of my own room in my own space without being
interrupted. I mostly do that so that once I arrive at the theater,
I'm available all the time to take conversations, to take meetings and
just be available to hear and listen to everybody and get the vibe of
how the day is happening. In general, I will work until 10:30 pm to
midnight depending on if it's a one or two show day. Our partners work
Monday through Friday so I must navigate that schedule sometimes. I
have learned the importance of keeping a work/life balance and taking
time away from work," she concludes.
As a busy Operations Director on such a large production, Jamie must
constantly change direction, pivoting to solve problems and
troubleshoot issues with her team.
"My best skill is adapting. It's so important as a manager because
things change so quickly and you have to adapt and trust everybody to
help you make decisions to keep the show going forward. Also, with new
team members joining the show, you always have to adapt to different
personalities and new situations. If a purchase comes in wrong or if
an act has to go into a show that you weren't expecting, you are
constantly adapting to new situations," Jamie shares.
Managing a staff of over 100 people is a grand task, but Jamie makes
time to understand what her staff is navigating on a daily basis.
"Connection is important to me. Most people feel comfortable when they
come to speak with me and at least know that they are being heard. I
will take the time out and even if I am not available, they know that
eventually, when I do have the time, that they will have the
opportunity to speak with me. I will always follow up as well to make
sure that they are doing ok if there was a problem."
Cirque du Soleil as a production company is very unique and roles vary
greatly from typical Broadway or West End theater. Jamie enlightened
us on the differences in roles for stage managers at Cirque du Soleil.
"There is only one difference between an ASM and SM at Cirque du
Soleil and it involves calling the show. Other than that, on all
shows, the stage management department acts as a team. They rely on
each other and everyone does all of the work with the tiny difference
of calling the show."
After a successful tenure working with Cirque du Soleil shows in Las
Vegas, Jamie was in line for a GSM position in the Residential Shows
Division of the company, but instead Jamie took a leap of faith and
decided to move to Mexico.
"I was filling into the role of Interim GSM when my GSM was on
sabbatical or during unfortunate times of illness. At Cirque du Soleil
resident shows, based in Las Vegas, when all of the dominos will fall
into place staff wise at shows, it makes things very stable for two,
three, or even four years at a time. While this is good for the shows,
it makes advancement within the company a challenge when you want to
grow. Sometimes, there are just not any openings. Each production has
generally identified "General Stage Manager in Waiting" so even when a
GSM job posting is listed, there is a good chance that there is
already someone who is already prepped and primed to take the role.
Like me, at Mystère. So, you hit a point professionally where you are
ready to take a chance and it's time to try something new. Plus, I had
always wanted to live outside of the United States and this seemed
like the perfect opportunity to have the familiarity of a company that
I knew and trusted to bridge into and it was also a great opportunity
to be recognized outside of Cirque du Soleil Resident Shows Division
and have International Headquarters know who I am. Surprisingly, it
took leaving the company and working for one of their independent
partnerships that helped everyone get to know me and watch me grow."
Originally, Jamie's leap of faith to move to Mexico was to take over
the role of General Stage Manager but just two years later, she was
overseeing the entire production.
"When I came to the show three years ago, our previous GSM and I had a
two week overlap to train and at the time the project was still quite
new. It was a very young show with only one backstage manager and GSM.
I learned to call the show in just three days and this included
operating a visual art act with a remote control. Then the previous
GSM left after training me for nine days. That's how I took over. Our
previous GSM had been with the show since the beginning of creation
and now, the world was open for me to fix and develop. I now had the
opportunity to create the stage management team I wanted to run post
creation in operational shows."
JOYÀ is unique in the world of Cirque du Soleil affiliated productions
since it is a partnership with Vidanta, the luxury resort and 45
DEGREES.
"When I started at JOYÀ, the management team had one person at the
top, Joël Bergeron who was our show director, technical director and
the GSM. We created a pyramid. After running this way for a while,
creating many changes and developing our system here, Joël decided to
resign from the company to move forward with other projects. He gave a
very lengthy resignation of nine months and during this time, our two
partners decided that Joël's position would need to be expanded into
two positions being Artistic Director and Operations Director. Around
this time, I decided to apply for the Operations Director position
but I didn't tell anyone and just continued on my merry way," Jamie
shares. "The reason I felt qualified for this position was unique to
my situation of working here, under the direction of Joël."
"He knew that I was capable of taking charge and would continue
forward. He would also give me PR events to allow me to take
performances to gala on behalf of him and take interviews alone. He
was really prepping me and giving me as much knowledge as he could.
And like I said, I'm not sure if he knew he was doing it or not, but
he definitely was preparing me to take over into this position," she
says.
In Spring of 2017, Jamie was promoted from the role of GSM at JOYÀ to
Operations Director.
"It's funny, when I first took the position, I started doing one-on-
one meetings with everyone at the show. I asked them what they expect
from the Operations Director since it was a brand-new position in the
restructure of management. What I gathered from everybody's feedback
was that, I get the information and I give the information. I get the
information from the partnership and I give the information to
everyone working at JOYÀ, in the same respect, I get the information
from JOYÀ and give the information to the partner. I bridge the gap. I
make sure communication is open and make sure everything is being
handled, I serve to monitor that the artistic quality and integrity of
what Cirque du Soleil and 45 DEGREES are looking for in the project is
happening, that the business side of the partner is being achieved
we are continuing to be profitable, and that we continue to instill
Cirque values."
Managing operations requires analyzing risk and preparing for
emergencies.
Cirque du Soleil spends a lot of time preparing its teams for
potential emergencies and accidents that can occur during rehearsals
and performances including staff becoming certified in CPR, AED use,
and emergency preparedness. Levels of emergency preparedness can vary
depending on the scale of productions.
"I think a show's level of preparedness depends on the length of time
that you have to work together. If you have a show that's running
permanently and has no chance of closing, then once you're up and
running it's the time to prepare for the worst and then rehearse your
conditions. You think of the crazy things that could possibly go
wrong and create a basic language with your crew. You create
contingencies and rehearse because with emergency procedures, no
matter how prepared you are, you still must react in the moment."
"The more you have a language and a script that you repeat over and
over again, the more comfortable you will feel during a real-life
scenario. In the case that you can't open a file or in case you can't
find the script or in case it's not something you've ever done before,
you've had enough practice with each other and comfort with your team.
When you rehearse emergency scenarios, you've created an atmosphere
that allows you to thrive and to do the proper things. It's really
important to do this because in an actual emergency, adrenaline will
kick in and put you on edge so preparation takes a little bit of
stress away," she continues.
Running a long-term production can be an all-encompassing project over
the years even on the Mayan Riviera surrounded by great beauty. Jamie
seems to be taking the responsibility and growth in stride.
"I find inspiration here in Cancun and listening, listening to the
staff, and hearing from them personally as to what they're looking for
out of this experience. I also seek new podcasts and books about
leadership and how to be a better leader, how to be adaptable- not so
much self-help, but about looking forward and how to create better
organizations. I'm always trying to find the best ways to keep people
motivated and realizing that it's not always about the money or about
the work, but that sometimes people just need small motivations. For
example, during periods where there are a lot of shows, I start a
Bingo game. Every night the stage manager will call out a word and
that creates the Bingo game. I try to come up with fun ideas that help
us to get to know each other," Jamie shares.
"I also try to get off of the resort on my weekends as much as
possible, to create a healthy work/life balance. I must find time for
myself in the mornings. I try taking a couple hours of time out for
me, time where I turn my phone off, read a book or connect with my
family. You can begin to feel secluded after living on a resort for a
long period of time, so you have to search out activities and slowly
make friends with people here and there. You make friends through
their friends and I'm growing my network that way," she continues.
JOYÀ is a long-term production that may continue for many years. Now,
as Jamie reaches her eleventh year with Cirque du Soleil, what does 10
or 20 years in the future look like in life and career?
"I hope I'm still happy. Whatever I'm doing, as long as I'm happy,
that's the most important thing to me. In career, I would like to keep
growing in this area. Perhaps I might be a general manager for a
sports team or music venue or with a company, arena, or theater. There
are many possibilities, especially with the way the entertainment
industry is changing with the shows getting bigger and companies
getting larger and with more recognition," Jamie says.
Self-reflection is very important to Jamie. She has come so far in her
career but also continues to grow. If she could share her wisdom with
her 18-year-old self, what would she say?
"I would encourage my younger self to keep your eyes open and take
chances. Soak in as much as you can and educate yourself on everything
because you have no idea where your life is going to take you and what
it's going to bring you. So just have a goal, but also be open to
goals changing."
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Jean David's Quel Cirque, Part 2 of 12: "The Appointment"
A Special Series Celebrating Cirque's 35th Anniversary
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Today a consultant in creativity and event marketing, Jean David was
one of the pioneers of Cirque du Soleil, where he led the marketing
department for 15 years (from 1984-1999), introducing the magic of the
Grand Chapiteau to the whole world. During his tenure, David
distinguished himself through innovative methods by commercializing
the Big Top and introducing its magic to other cultures on four
continents.
A man of vision but also a determined entrepreneur, Jean David acted
as Vice President of Entertainment, Sales & Marketing at the WYNN
Hotel in Las Vegas before moving to India for 18 months, where he led
a pre-feasibility study for the creation of an innovative project: the
Mumbai International Creative Center, an international resort centered
around the theme of creativity.
In his 2005 book - "Quel Cirque!" ("What a Cirque!") - David offered
his views on leadership and revealed the innovative qualities that
contributed to Cirque du Soleil's enormous success in marketing,
management, creation and exploration. There was only one problem... it
was written in his native French. Thankfully, David himself translated
and web-published an English-language version of his book and we've
collected the relevant Cirque-related chapters for this 12-part
series.
Jean David's "Quel Cirque" is a fantastic read and as Cirque du Soleil
celebrates its 35th anniversary this year, we thought this would be
the perfect year to share these texts with you. So, without further
ado, Quel Cirque!
# # #
1982. I was working as account executive for a Quebec city advertising
agency when I got a call from an old pal Robert Lagueux. He headed the
High Heels Club, a non-profit troupe that did street theater on
stilts. His group was putting on a festival of street performers in
picturesque Baie-Saint-Paul, a charming little town about 60
kilometers from Quebec City and he wanted me to lend a hand. The event
had drawn performers from around the world: about fifty of them in
all. In between contracts, they were only too glad to earn a few
bucks, especially since they could get together and renew old
acquaintances. The festival offered free outdoor shows, public
workshops on circus arts, as well as parades and indoor shows.
As it happened, my three-week vacation coincided with the festival:
the Fête foraine de Baie-Saint-Paul. As I also had some organization
and logistics experience, I accepted his invitation. So there I was
production manager of the event. The work was straight forward enough;
it was even fun. I had to see everything ran smoothly, that the
artists, technicians, stages and public showed up at the right place
and the right time. But participating in a big event takes discipline
and that isn't exactly the street performers' fortethey're used to
being their own bosses, plying their skills on busy street corners all
over the worldthey needed someone to instill a little structure and
organization. As everyone was looking forward to having a good time,
my little job was very pleasant.
Mainly young street performers, the festival organizers had a hard
time cobbling together an operating budget. For the most part the
group consisted of people without a steady job, dropouts, the
unemployed, occasional welfare recipientsin short, self-employed
workers with little or no credit history. Barely two days after I
arrived, the team asked me to make a little contribution to the cause.
So I found myself at the bank co-signing a $5,000 loan! There were a
few financial glitches, but the event was a huge success because it
was entertaining, fun and original.
The highlight of the first edition of the entertainers' festival was
the closing show. It probably the precursor of the Cirque du Soleil.
It was the first time we presented dozens of street artists, buskers
and clowns. The result was an unforgettable finale. I acted as floor
manager backstage with the artists. The excitement, the energy, the
power and intensity generated by the artists together on one big stage
created an electricity that was communicated to the audience. Little
did we realize what impact that evening would have one day.
The Fête foraine de Baie-Saint-Paul was repeated the following two
years. I collaborated on the second edition. The work and the
conditions were pretty well the same. But this time the festival drew
even more street performers and a larger audience. It was an even
bigger hit, and there were no financial woes. The Fête foraine de
Baie-Saint-Paul launched the young theater troupe on stilts; it opened
the door to a world of possibilities and adventure. In 1984, the event
served as a reference for an important contract that launched the
Cirque du Soleil.
That year, the Quebec government wanted to commemorate the 450th
anniversary of the arrival in Canada of Jacques Cartier, the first
French citizen to set foot on North American soil. The government
created the Commissariat général aux célébrations 1534-1984, an
organization charged with putting on celebrations, and gave it a
budget of about $12 million. Then Quebec show producers were invited
to submit projects. The High Heels Club headed by Guy Laliberté and
Robert Lagueux, jumped at the opportunity and submitted a project that
was quite bold for the time. Our group took the Fête foraine model and
turned it into a traveling show. We planned to stage the event in at
least 11 towns around Quebec over a three-month period. For each town,
we planned an organization (local jobs) in which we invited artists
and crafts persons to take part. As much as possible, we integrated
everything into the community.
I attended some of the meetings to prepare the project. Many people
took a dim view of street performers. Gilles Loiselle, the head of the
Commisariat général, was sympathetic to our project, but a bunch of
buskers, clowns, jugglers, and fire-eaters hardly met the criteria of
official culture. At the Quebec Cultural Affairs ministry, with
Clément Richard at the helm, our stock wasn't very high. And
provincial coffers offered no subsidies for circuses, no money for the
performers. Laliberté and Lagueux battled long and hard to convince
the authorities they could trust a band of longhaired street
performers, who were unemployed, with no official status, and worse
still very young. Fortunately, Quebec prime minister René Lévesque
took up our cause with the skeptics. He considered our proposal
innovative and his interest never wavered. It's thanks to his
intervention that the project finally took shape.
At the time, I was self-employed, offering my services as a
communications freelancer. I also did volunteer work in community
radio. I was having fun. The previous fall, I had traveled to Paris
with the Office franco-québécois pour la jeunesse for a three-week
workshop on French advertising. And I was amazed at what I learned. Of
course, the big French agencies hosting us had spared no effort to
impress their North American cousins. That fall, when I returned to
Quebec, it was quite a letdown to find myself operating within the
constraints of the advertising agency. I decided to drop everything.
All too often, my work as an advertising executive had led me into
contradictions, choosing between what clients wanted me to do and what
I believed should be done; I'd had enough.
In the spring of 1984, when the project got government approval, Guy
Laliberté and Robert Lagueux offered to take me on as tour manager. I
had just turned the big 30 and I thought it was about time I did
something with my life... At any rate, the project was exciting and it
was a magnificent opportunity to do something that had never been
done. So, I accepted the offer. But, no sooner was I hired than I got
fired! I was the first employee to get the sack at Cirque du Soleil.
The contract that I signed in April said I was supposed to start in
June. Meanwhile, my friends hired Guy St-Amour, a "brilliant young"
technical operations manager with vast event production experience.
His first move was to refuse to work with me. He didn't know me, he'd
never even set eyes on me, but he convinced my "friends" that I lacked
the experience for an event of this scope. At any rate, the work
called for two people. And he just happened to know a couple of
excellent stage managers and he preferred to work with them; my bosses
"agreed."
One morning, Guy Laliberté summoned me to his office and told me that
he'd given the new technical director full authority. The last thing
my "friends" wanted to do was to upset him. And just like that, they
thanked me for my services. I was stunned, devastated. I'd been
looking forward to the adventure, getting involved, spending a few
months on the road with new friends. Besides, I had just declined a
speaking engagement at the 3rdFestival de la radio FM, in La Rochelle,
France. But their decision was final; there was no appeal. So, there I
was with my first severance pay. At least it allowed me to fly to
France just in time to give my talk.
A few weeks later, when I got back from Europe, Robert Lagueux
contacted me to let me know that things weren't going well. During
Cirque du Soleil's rehearsals in Sainte-Thérèse, a town north of
Montreal, a violent storm had severely damaged the big top. The weight
of the accumulated water had bent the masts, rendering the whole
installation unusable. Nevertheless, the tour had got underway as
scheduled in Gaspé. The show was performed in an improvised venue, a
tent that the troupe had borrowed from the federal government, much to
the displeasure of provincial government representatives.
Lodging and logistics were a nightmare. A revolt was brewing in the
troupe. To make matters worse, the stage managers hired to replace me
had jumped ship during the night and St-Amour had fallen ill. Not a
pretty picture! Robert pleaded with me to come back. They would rehire
me on the spot. But I set my conditions: clear contract terms, a pay
raise; I left nothing out. I was rehired; what's more, I had carte
blanche. The situation was completely reversed; it was even more than
I had expected.
A few days later, I flew from Quebec City to Baie-Comeau, the next
stop on the tour. My "mandate" mainly consisted of seeing that the
organization respected its engagements to the government. Failure to
do so would render the contract null and void and the entire operation
would be at risk. From a technical standpoint, the shipyard in
Rimouski manufacturing new masts for us promised they'd be ready when
we visited the town three weeks later. Until we could use our big top
again, we'd have to make do with whatever arenas we could rent. The
situation was far from ideal, but, at least, we'd find shelter and the
show could go on.
Clearly, there was a distinct lack of organization! I had to deal with
strong willed personalities from diverse backgrounds. There were egos
as huge as a big-top. To find out what was going on and get to know
the employees, I interviewed every one of them. I assessed their
experience, the skills they brought to the table, their job
description. Above all, I listened to them. I picked their brains to
find what was wrong and what should be done immediately to make things
better.
After a few days, I had met all 40 members of the little company, and
I had a good idea what had to be done. The employees needed support
and reassurance in carrying out their tasks. Things needed to be
clarified for everyone. Someone had to take charge of the operation. I
scrutinized the job descriptions and proposed some team changes. There
followed a brief period of considerable reflection!
The troupe was drawn from many nationalities. Inevitably, there were
significant cultural differences among the group's leadership. Soon
their diametrically opposed points of view and widely differing
attitudes emerged about some issues: after all, street performers
march to the beat of their own drum. But one thing was crystal clear:
this youthful management team needed to do the job as administrators
and entrepreneurs. We had commitments: nothing and nobody in the world
could stand in the way.
RimouskiOn the pier, a significant event in Cirque du Soleil's first
tour occurred. The replacement masts were delivered. Compared with the
original delicate Italian structures, which had collapsed, these were
enormous. The whole technical team was present. The new masts were
placed on the ground and the canvas of the big top was in position.
Everything was ready. We were about to proceed when our assembly
foreman, Swiss big- top expert Gérard Bétant brought things to a halt.
The new structure was too heavy, he claimed. It was a little weak; it
could collapse. People could get hurt. So here was the expert in
charge of assembling the big top suddenly refusing to do it.
But the shipyard engineer from Québec, standing beside him, would have
none of it. He scoffed at the danger. The new structure would be ten
times as solid as the original masts, he said. But the technicians
were nervous. You could see the tension etched on their faces. After
all, they had hoisted the tent only once since the tour began and that
had been a fiasco. And the expert we'd hired didn't want anything to
do with the new masts. Then technical director Guy St-Amour rushed in,
declaring that he sided with the assembly foreman. He and his men
wouldn't touch the structure. We had to find an alternativesome arena
or other. Things were getting worse by the minute! The engineer from
Quebec couldn't believe it; neither could I. St-Amour vanish as
quickly as he'd come! The poor chap had stomach cramps and had to go
and rest in his room, leaving me to solve the problem. Guy Laliberté
was there and, like me, he seemed not a little upset.
We had a commitment with the government and the big top represented a
substantial portion of our budget. Not being able to use the big top
for shows would be an obstacle that could endanger subsequent contract
payments. Failure was not an option. So, I put my faith in the
engineer. After all, he was the expert who had built the masts. I told
Gérard Bétant in front of everyone that he was relieved of his
functions, that I no longer needed him and I asked him to leave the
premises! I also simply told the others I was going to see to it
personally that the big top was assembled and that to do so, I just
needed a few volunteers. No more bickering! Seeing my attitude, the
whole group backed me and with the engineer advising us, we got down
to work. We toiled away to the end of the day and enjoyed every minute
of it. Finally the big top was up, magnificent, incredibly strong and
solid, good for the whole tour.
Early in the evening, when St-Amour showed up, his stomach did back
flips when he saw we'd mounted the big top. Like everyone else, he
could see how robust the installation was, so he agreed to work on it.
A little later, government representatives dropped by and were
delighted to see that the masts had been delivered on time. The big
top was in place and everything was running smoothly. The Cirque du
Soleil project was finally shaping up as planned, and the first show
under the big tent had a magical effect on the whole company. The
objective had been fulfilled. The team spirit was extraordinary and
everything was running like a charm! Ex-Tent Master Gérard Bétant was
reassigned: as a chief usher, he was perfect...
Now, we could all contribute to the best of our abilities and I could
sense a feeling of camaraderie infusing the team. Assembling and
dismounting the tent was still a mighty task, but our pride and sense
of accomplishment more than compensated for our efforts. As the tour
traveled from town to town things got better and better. The whole
operation was a huge success. I felt my job was done and I actually
thought about leaving the troupe then. We were performing before sold-
out audiences explained in part by the ticket prices: $2 for adults
and $1 for children. The show met with unanimous audience approval;
the public loved it. After every performance, many spectators were so
moved by the experience that they were crying as they left the big
top.
One of the significant aspects of the tour was the media response. We
were met with enormous acclaim in the press. The show and the entire
operation earned full-page reports in the big dailies and wide
coverage in the electronic media. The media even quoted spectators who
said that they were delighted to see that the government was finally
investing their money wisely. What more could we ask for? The first
tour was a real market study. No doubt about it, there was a demand
for the product. And the extremely positive results encouraged us to
pursue the adventure and define new objectives. I agreed to get even
more involved in the project. It was the start of a new career!
Are you looking for new challenges?
{ To Be Continued... }
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 19, Number 2 (Issue #181) - February 2019
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2019 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., All Rights
Reserved. No copyright infringement intended.
{ Feb.09.2019 }
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